'Baritone Nicholas Lester has sung and impressed at Dorset Opera before; here as Marcello‚ he was most impressive‚ the voice rich and well projected with clear diction and plenty of colour. He conveyed chemistry with his Musetta sung by Lauren Michelle...'

La bohème‚ Dorset Opera FestivalBachTrack.com (July 2018)

'Baritone Nicholas Lester has sung and impressed at Dorset Opera before; here as Marcello‚ he was most impressive‚ the voice rich and well projected with clear diction and plenty of colour. He conveyed chemistry with his Musetta sung by Lauren Michelle...'

La bohème‚ Dorset Opera FestivalBachTrack.com (July 2018)

'Baritone Nicholas Lester has sung and impressed at Dorset Opera before; here as Marcello‚ he was most impressive‚ the voice rich and well projected with clear diction and plenty of colour. He conveyed chemistry with his Musetta sung by Lauren Michelle...'

Cosi fan Tutte‚ Opera Holland ParkBachTrack.com (June 2018)

'Their officers were no less convincing‚ with Nick Pritchard a sensitive Ferrando and Nicholas Lester more robust – and with a roving eye – as Guglielmo. Pritchard’s mellifluousness and well sustained legato made for a memorable "Un’aura amorosa". His initial diffidence in wooing Guglielmo’s fiancée nicely contrasted with the latter’s relish in wooing Dorabella with the suave allure of his baritone.'

Cosi fan Tutte‚ Opera Holland ParkBoulezian (June 2018)

'So too did Nicholas Lester’s Guglielmo‚ the bitterness of his disillusion moving indeed‚ his ‘journey’ perhaps the greatest of all. '

Cosi fan Tutte‚ Opera Holland ParkPlanet Hugill (June 2018)

'Lester’s easy baritone created a good humoured fluency to Guglielmo’s music‚ with his relatively easy seduction of Kitty Whately’s Dorabella.'

Cosi fan Tutte‚ Opera Holland ParkThe Stage (June 2018)

'Mozart and Da Ponte’s naive young lovers are finely explored over the course of the show by four singers who lay all their ambiguities bare by means of expert vocalism. Eleanor Dennis’ complex Fiordiligi‚ Kitty Whately’s extrovert Dorabella‚ Nicholas Lester’s cocksure Guglielmo and Nick Pritchard’s sensitive Ferrando all sing their parts to a degree of excellence rarely encountered.'

Cosi fan Tutte‚ Opera Holland ParkWhat’s on Stage (June 2018)

'Lester is spry‚ characterful and in excellent voice. The best I’ve seen or heard him. '

Cosi fan Tutte‚ Opera Holland ParkMusicOMH (May 2018)

'Alongside him‚ Nicholas Lester asserts his firm and controlled baritone to strong effect as he gives the impression of a Guglielmo who thinks rather too highly of himself.'

Goldilocks and the Three Little Pigs‚ The Opera StoryThe Guardian (March 2018)

'The three pigs/bears (these beasts are compounds) are the tops. Daddy Bear/Pig (Nicholas Lester) has a tremendous baritone voice and irresistible comic gift – although his intentions are anything but comic. He is dressed in a suit with a half-undone tie and regularly consults his mobile phone. His furry slippers are more bear than pig – suited to an opera red in tooth and claw‚ a meaty tragedy. '

Goldilocks and the Three Little Pigs‚ The Opera StoryThe Stage (February 2018)

'Australian baritone Nicholas Lester gives the standout performance vocally – and manages to be both suave (as far as standing in bear-claw slippers allows) and chilling in his encounter with Goldilocks.'

Eugene Onegin‚ Welsh National OperaClassical Source (November 2017)

'Nicholas Lester’s tall Onegin was an aloof‚ almost isolated customer in dramatic terms‚ and he also managed to express this vocally as well with coolness to his tone until aroused finally to passion in the final scenes. In the early Acts his sense of distance from those around him contrasted well with Tatyana’s warmer‚ dreamier reserve. '

Eugene Onegin‚ Welsh National OperaClassical Source (November 2017)

'Lester is as vocally distinctive as his characterisation of the title role‚ sounding dark and remote during the first two Acts‚ but attaining frustration and despair in the final one; his performance underlines rather than explains Onegin’s initially standoffish personality and the equally inexplicable turnaround in his affections for Tatyana.'

'Nicholas Lester‚ splendidly‚ is the ice to her fire‚ singing with elegant clarity‚ acting with a cool languor. Hoheisel has him dressed formally throughout—appearing to our modern eyes a bit like an undertaker at Tatyana’s name-day ball.
It’s a neat touch that when he reappears years later‚ stricken with remorse‚ he’s grown his hair in the style of Lensky‚ the doe-eyed poet he killed in a duel. '

'As Valentin‚ the tall Australian Nicholas Lester was a classic hero with a ringing‚ battle-ready baritone and an ability to carry off chainmail tights with dignity. '

Faust‚ Dorset OperaThe Express (August 2017)

' Nicholas Lester as her brother‚ Valentin‚ who is felled by Faust’s sword‚ delivers as devastating a death curse to his sister as I’ve heard. '

Faust‚ Dorset OperaBachTrack.com (July 2017)

'Baritone Nicholas Lester’s Valentin was stridently sung‚ an energetic assumption of the role which showcased his appealing middle voice and even tone. '

La Scala di Seta‚ Scottish OperaBachTrack.com (April 2017)

'...scheming with Nicholas Lester’s deeply warm-toned and ever-perplexed baritone Germano‚ the opera’s other central character in a splendidly entertaining double act. '

La Scala di Seta‚ Scottish OperaOpera Critic (April 2017)

'It’s a particular pleasure seeing Nicholas Lester in a comic role as the servant Germano‚ who is not as bright as he thinks he is. It might have been tempting to play him as a clown or an idiot‚ but Lester plays him straighter than that. It is‚ of course‚ shameless how Giulia (Jennifer France) toys with the affections of her devoted servant‚ but their first act duet is excellent. In the second act‚ he very convincingly dozes off and talks in his sleep.'

La Scala di Seta‚ Scottish OperaThe Guardian (April 2017)

'The standout performance was Nicholas Lester as the hopelessly confused servant. Lester is by nature more of an aristocrat‚ but here he used his elegance for comic effect.'

La Scala di Seta‚ Scottish OperaThe Times (April 2017)

'The central couple were stylishly sung by Jennifer France (Giulia) and Luciano Botelho (Dorvil)‚ but they were outplayed and outsung by the two buffo baritones‚ Joshua Bloom as the unsuccessful suitor Blansac and Nicholas Lester as the manipulative servant.'

'Josef himself is played superbly by Australian baritone Nicholas Lester. The richness of his voice combines fascinatingly with his estimable height to express and embody the seeming self-worth and certainty of a middle-class functionary.'

La Cenerentola‚ Opera Holland ParkBachTrack.com (July 2016)

'Nicholas Lester’s forceful baritone was well suited to singing Dandini‚ showing heft and a fine ability to inject a sense of mirth to the voice. His interactions with Don Magnifico in Act II‚ revealing his real identity as a servant‚ was full of glee and a real highlight.'

La Cenerentola‚ Opera Holland ParkClassical Source (July 2016)

'Nicholas Lester’s Dandini is another finely judged portrayal. His height allows him to dominate the stage easily‚ as this character should‚ and he made direct contact with the audience. His ‘asides’ were delivered with point and his singing as rounded as his coloratura was impressive.'

La Cenerentola‚ Opera Holland ParkLimelight (July 2016)

'The Australian baritone Nicholas Lester was impressive as Dandini and looked every part the prince when in disguise as his master. It would be wrong to say here is a singer to watch because he already has a highly praised track record with a number of prestigious opera companies and watching him perform left me in no doubt that the praise was fully deserved. Lester has an envious vocal ease‚ roundness of tone and audience’s eyes never leave him when he is on stage. He brings real charm to the comic ensemble and an assured musicality.'

La Cenerentola‚ Opera Holland ParkMark Ronan.com (July 2016)

'On the palace side‚ Nico Darmanin made a handsome and well sung Prince Ramiro‚ with Nicholas Lester as his valet Dandini…singing with admirable firmness…'

'… I loved the way Lester really brought out the feeling that Dandini was enjoying playing his master and pushing it as far as he could go. There was a nice twinkle in his eye which came out in the music too‚ always a good sign. [ ] and as Dandini he showed that he has a musical feel for Rossini’s comedy‚ and the role’s high tessitura seemed to hold no dangers for him.'

La Cenerentola‚ Opera Holland ParkThe Guardian (July 2016)

'The singers vied to out-camp each other…Nicholas Lester was a suitably charming Dandini.'

'…Nicholas Lester’s Dandini‚ crisp and commanding‚ full of ham flourishes...'

La Cenerentola‚ Opera Holland ParkWhat’sOnStage.com (July 2016)

'Nicholas Lester‚… is stylish‚ characterful and musically first-rate as Dandini.'

Don Giovanni‚ English Touring OperaBirmingham Post (May 2016)

'It helps that Wood has a Giovanni like Nicholas Lester - a man who really knows how to wear evening dress‚ so commanding and effortlessly charming that he could probably have seduced most of the audience too.'

Don Giovanni‚ English Touring OperaDaily Record (May 2016)

'[Nicholas Lester’s] Giovanni was a powerful‚ saturnine‚ commanding and ruthless stage presence‚ his fine voice suave in the serenade‚ daringly fast in the Champagne Aria‚ coaxing in Là‚ ci darem la mano with Zerlina‚ and cruel in his exchanges with Donna Anna.'

Don Giovanni‚ English Touring OperaThe Opera Critic (May 2016)

'It is so much better when Don Giovanni looks the right side of forty and half-ways decent-looking‚ so much more believable. As is the case with Nicholas (…) He snaps his braces‚ strides across the stage and‚ with a voice like chocolate‚ sings of loving and leaving ‘em.'

'Making his debut with WNO‚ Nicholas Lester is a Figaro with great stage presence‚ making it obvious from the start who is boss around here and coping well with the famous aria.'

The Barber of Seville‚ Welsh National OpersThe Telegraph (February 2016)

'Nicholas Lester‚ Richard Wiegold and Rosie Hay contribute brightly to the team as a strongly characterised Figaro‚ Basilio and Berta.'

The Barber of Seville‚ Welsh National OpersWales Online (February 2016)

'…the tall and striking Figaro of Nicholas Lester […] did not need his height to bring stature to the role. There was plenty of novelty in this Figaro and his antics to make this so well-known role fresh and fun.'

Lakmé‚ Opera Holland ParkOpera (September 2015)

'Nicholas Lester in the baritone role of Gérald’s officer friend Frédéric‚ sang with such distinction that you wished he had more to do.'

Lakmé‚ Opera Holland ParkFinancial Times (July 2015)

'Nicholas Lester fielded some high-quality singing as Frédéric…'

Lakmé‚ Opera Holland ParkOpera Britannia (July 2015)

'The other outstanding performance came from Nicholas Lester who made much of the role of Frédéric‚ Gérald’s brother officer. Lester has a really strong baritone voice and he more than once reminded me of that superb French artist‚ Laurent Naouri. He is also a strong‚ subtle actor making the most of his stage opportunities. Definitely a singer to watch.'

Lakmé‚ Opera Holland ParkOpera Today (July 2015)

'Nicholas Lester was excellent as Frédéric. Lester has made a good impression in recent stagings at OHP’s — in Il barbiere di Siviglia‚ first as Fiorello and then as the eponymous barber — and here he once again demonstrated a firm‚ appealing baritone. With his stiff uprightness‚ moral self-righteousness and limited emotional awareness‚ this Frédéric reminded me —… of Lechmere in Britten’s Owen Wingrave‚ a character who through his own short-comings reveals the more extraordinary depths and qualities of his friend.'

Lakmé‚ Opera Holland ParkThe Arts Desk (July 2015)

'It helped that in Nicholas Lester‚ Platt had a highly personable and vividly projected Figaro. Towering above everyone else‚ the young Australian baritone had a voice to match and a 100 Watt personality. Lester was quite a find and enlivened the stage without over doing things or mugging. His voice had a nice ping to it‚ so that from ’Largo al factotum’ Lester was a joy to listen to.'

Lakmé‚ Opera Holland ParkThe Express (July 2015)

'There is excellent singing‚ too‚ from tenor Robert Murray as Gerald‚ and from baritone Nicholas Lester as Frederic‚ his fellow officer.'

'...Escamillo has built-in brio and Nicholas Lester’s smoothly sung matador is the most arresting character on stage.'

Il barbiere di Siviglia‚ Opera Holland ParkOpera (August 2014)

'Lester’s crisp‚ resonant baritone will doubtless be heard in bigger houses before long; Figaro is a good calling card for the elegant Australian.'

The Jacobin‚ Buxton Festival OperaBachTrack.com (July 2014)

'Musically‚ The Jacobin is pure delight and the performances here were winning. Nicholas Lester’s authoritative baritone is perfect for the role of Bohuš. His superb diction and warm‚ almost heroic tone made an immediate impact and he was able to spin legato gloriously in his moving tribute to the music of his homeland.'

The Jacobin‚ Buxton Festival OperaMark Ronan.com (July 2014)

'...the casting is superb. Nicholas Lester‚ whose magnificent stage presence is backed up by the lyrical gravitas of his voice‚ made an excellent Bohuš...'

The Jacobin‚ Buxton Festival OperaPlanet Hugill (July 2014)

'Tall and distinguished looking‚ Nicholas Lester made a finely attractive Bohus (he impressed earlier this year as Rossini’s Figaro at Opera Holland Park). His opening solo was the character’s big moment‚ and Lester showed a feeling both for Dvorak’s dramatic line and for the feeling of nostalgic melancholy in Bohus’s love of his homeland. '

The Jacobin‚ Buxton Festival OperaThe Guardian (July 2014)

'Nicholas Lester suggests Bohuš’s decency and bravery in singing that is never less than confident.'

'...Opera Holland Park takes great risks in putting on rare repertoire‚ not so much dabbling its toes in verismo as diving in fully clothed. So‚ why a solidly traditional Barbiere? The answer lies in the casting. . . Nicholas Lester‚ who started out in the OHP Chorus and sang Fiorillo last time round‚ made a great impression as Figaro‚ the eponymous barber. His full baritone is agile and he negotiated the patter of “Largo al factotum” with great panache. His contribution to “Dunque io son”‚ his duet with Rosina‚ was perfectly judged and he successfully manipulated the whole plot and had the audience in his palm. Quite an achievement...'

'...Nicholas Lester has been nurtured by OHP over several years‚ and with good reason. He has a terrific baritone‚ nimble‚ graceful and with a virile top range of great quality. His Figaro exuded authority and charisma‚ compounded by his being handsome and about a head taller than the rest of the cast – height is such a reassuring accomplishment. He wound the plot round his little finger with enormous skill and his ‘Largo al factotum’ alone was worth the trip...'

Il barbiere di Siviglia‚ Opera Holland ParkOpera Today (June 2014)

'...Australian baritone Nicholas Lester has a large‚ opulent voice which he put to excellent effect as the quick-thinking barber. His bass-inclined resonance grabbed the attention from his first entrance. Pushing a stripy-poled hand-cart‚ this Figaro peddled his talents and wares — some wild wigs dangle from his wagon — with confidence and composure‚ a nonchalant single swipe of the razor de-whiskering a client during ‘Largo al factotum’. Lester’s lines were clearly formed‚ of pleasing tone‚ and his performance was well-paced. His on-stage presence ensured that the uproar never lapsed into anarchy‚ and when a commanding hand was required he assuredly stepped in...'

Il barbiere di Siviglia‚ Opera Holland ParkPlanet Hugill (June 2014)

'It helped that in Nicholas Lester‚ Platt had a highly personable and vividly projected Figaro. Towering above everyone else‚ the young Australian baritone had a voice to match and a 100 Watt personality. Lester was quite a find and enlivened the stage without over doing things or mugging. His voice had a nice ping to it‚ so that from ’Largo al factotum’ Lester was a joy to listen to.'

'...Nicholas Lester and Kitty Whately both did a superb job with the two principal roles. Lester’s Figaro was a likeable rogue full of wit‚ energy and low cunning. He brought considerable vocal heft and virility to the role and was highly attentive ot issues of balance and coorindation during the ensemble numbers. Largo al Factotum was a complete triumph with Lester making light work of the rapid coloratura and bringing an unfettered exuberance to this most famous of arias...'

'...As for Nicholas Lester‚ a former Fiorello at this address and a chorus member in an even earlier incarnation of Il barbiere‚ he celebrated his promotion to the title role with a vocal performance of sprightly and mellifluous vigour...'

Don Pasquale‚ Scottish OperaBachTrack.com (February 2014)

'Nicholas Lester’s finely sung Malatesta was well matched‚ no more so than in the formidable patter duet in the last act.'

'Nicholas Lester‚ with a splendidly neat curtain beard‚ serves well as Malatesta‚ flattering Pasquale but driving the plot. Their famous Act III patter duet is crisply done - its technical prowess accentuated with speech bubbles over their heads‚ echoing the earlier photostory.'